in the south end were getting converted into office use. >> right. >> and because sli served as light industrial doesn't permit office use, it was basically a way, a path to allow them to have office use within those buildings. >> change the zoning to allow it rather than -- anyway -- >> i do have a question, though. this won't affect anything on this building because we saw the design center [speaker not understood] as well. so, is there a square footage allowed in this type of situation per year? [multiple voices] >> office allocation as a whole, right? >> if i could, there's a maximum 950,000 square feet that goes into the prop m office allocation every year. 875 of that is what's called the large cap authorization which is building more than 50,000 square feet. 75 goes into the small cap, which is buildings below 50, and buildings below 25 don't

even need an authorization. because they're so small. ~ but if i could on the other aspect of this, i mean, this particular provision that would allow -- allows a landmark building to be used for a use otherwise not permitted, i would argue it's pretty creative provision of the planning code because it basically is an incentive to maintain historic properties that otherwise can't be used. we wouldn't want to blanket -- the idea of changing the zoning is it's a challenging one because there was a lot of fighting in the eastern neighborhoods, for example, allowing uses in pdr zones and there was a pretty strong decision made not to do that. this is the one exception it's a landmark building that could be used for something. so, it is -- that's kind of why i wouldn't want to change the zoning in a blanket way. we want to make sure it is an only for specific types of uses and landmark buildings. >> i think over the last, since last summer because we looked at 665 third street right across the interest from this one to henry adams and now

this, we're looking at on the order of almost 350,000 square feet that have been converted from office use to pdr. to me, again, this is a planning commission issue. why are we questioning that all this pdr is now disappearing from the ranks? and i get it, it's great because in the process, you know, we're helping to preserve the historic buildings but from a city-wide point of view we've now lost 350,000 square feet of pdr space which in the eastern neighborhoods was so desperate -- [multiple voices] >> it's a very challenging policy question. >> which we're not going to resolve here today. >> commissioners, we're looking into the overall impact of this code amendment and, so, by the time to henry adams is back in front of you, we'll have more answers about how much pdr cumulatively has been impacted by this code section. >> in general, some of this also comes from the eastern neighborhoods legitimazation process.

we kind of hit the tail end of that and basically for projects that couldn't be legitimatized and if there was a path through the code, this is how a lot of these projects have basically had a path in the existing planning code to get their office legalized in certain cases. so -- >> it does seem like big chunks of square footage like this. how are you ever going to fill pdr [speaker not understood]? so, it's almost like the 25,000 square foot anyways would be pdrs more vital on smaller buildings on a smaller scale. so, the building across the street is bigger, this one is bigger. it would be really tough to fill this pdr. >> it's particularly tough to fill it on the upper floor. those are one of the distinctions we're looking atful >> we can debate this because i live in dog batch where it's all pdr, ~ you can't build anything else and, you know, again, these are city policy things that took years to determine. so thanks.

>> commissioner wolfram? >> [speaker not understood]. >> anything else? we'll open this up for public comment. anybody from the public wish to comment on this item? david silverman. i've been working with mr. [speaker not understood] on this project. i just want to respond very briefly to the comment raised by commissioner pearlman. there's no pdr being lost because the building is vacant. it's a very hard building to find a tenant for. it used to be an auction house. the auction house is long gone. the building was built a century ago. you know, it's used for storage in connection with the shipping industry. the shipping industry went away 50 years ago. so, you know, i think the explanation provided by director ram is correct.

it's an extension of the sso district uses to the sli when it's an historic building and it's intended to preserve the building by the very extension standard provided in the maintenance plan. so, it does make sense. and there's not actually any pdr space being lost. thank you. >> thanks, appreciate it. >> thanks. >> any other member of the public wish to speak? seeing none, we'll close public comment and bring it back to commission. commissioners? >> this is just review and comment, right? we're not actually -- >> there is a resolution drafted for your adoption. >> okay. i move to adopt the findings in the resolution. >> second. >> thank you. >> on that motion, commissioners, to adopt the draft resolution, commissioner hyland? >> yes. >> commissioner johnck? >> yes. >> commissioner malt sued a? >> yes. >> commissioner pearlman? >> yes. >> commissioner wolfram? >> yes.

>> and commissioner [speaker not understood]? >> yes. [speaker not understood] has comment. >> i should have mentioned this at the beginning, but march 5th i'm not going to be here. the reason i brought it up is there an arc potentially scheduled for that? >> no, not at this moment. >> terrific. nothing else, we will -- excuse me. >> i should have brought this up, too. i was looking at our advance calendar and it looks a little slim. so, i was wondering if we could start to introduce the discussion of the historic element and talk more about that as well as the golden gate park master plan, go back to that and -- >> nomination. >> right. >> as well as talking about the application of the secretary of interior standards? >> right, that's -- >> which we haven't talked about. >> [speaker not understood]. >> [speaker not understood] yeah, interpretation. that's where the head count for the legislative action is going to take -- [laughter] >> you're right. >> any other comments? none, we are adjourned.

[gavel] >> thank you. [adjourned]

>> san francisco parks, golden gate park transforms into one of the greatest music festivals of all time, let's journey, inside, outside land. ♪ >> to this, our 6th year doing the outside lands and our relationship with san francisco, rec and park. and we work very closely with them in the planning and working very closely with the neighborhood organizations and with the city supervisors and with the city organizations and with the local police department, and i think that the outside lands is one of the unique festivals in the world and we have san francisco and we have golden gate park and we have the greatest oasis, in the world. and it has the people hiking up hills and down hills and a lot of people between stages. >> i love that it is all outside, the fresh air is great.

>> they have the providers out here that are 72 local restaurants out here. >> celebrating, and that is really hot. >> 36 local winerries in northern california and 16 brewers out here. >> and you have seen a lot of people out here having a good time and we have no idea, how much work and planning has gone into this to make it the most sustainable festival in the united states. >> and literally, in the force, and yeah, unlike any other concept. and come and follow, and the field make-up the blueprint of the outside land here in golden

gate park and in the future events and please visit sffresh parks.org. (music) >> herb theatre,open rehearsal. listen to the rehearsal. i think it is fun for them, they see our work process, our discussions, the decisions we make. it is good for us. we kind of behavior little bit when we have people in the audience. msk (music) >> we are rehearsing for our most expensive tour; plus two concerts here.

we are proud that the growth of the orchestra, and how it is expanded and it is being accepted. my ambition when i came on as music director here -- it was evident we needed absolutely excellent work. also evident to me that i thought everyone should know that. this was my purpose. and after we opened, which was a spectacular opening concert about five weeks after that the economy completely crashed. my plan -- and i'm absolutely dogmatic about my plans --were delayed slightly. i would say that in this very difficult timefor the arts and everyone,

especially the arts, it's phenomenal how new century has grown where many unfortunate organizations have stopped. during this period we got ourselves on national radio presence; we started touring, releasing cds, a dvd. we continue to tour. reputation grows and grows and grows and it has never stopped going forward. msk(music) >> the bay area knows the orchestra. you maybe take things for granted a little bit. that is simply not the case will go on the road. the audiences go crazy. they don't see vitality like this on stage. we are capable of conveying joy when we play. msk(music)

>> any performance that we do, that a program, that will be something on the program that you haven't heard before. string orchestra repertoire is pretty small. i used to be boxed into small repertoire. i kept constantly looking for new repertoire and commissioning new arrangements. if you look at the first of the program you have very early, young vibrant mendelson; fabulous opener and then you have this fabulous concerto written for us in the orchestra. is our gift. msk(music) >> and then you have strauss,

extraordinary piece. the most challenging of all. string orchestra work. 23 solo instrument, no violin section, now viola section; everybody is responsible for their part in this piece. the challenge is something that i felt not only that we could do , absolutely could do, but i wanted to show off. i can't tell you how aware i am of the audience. not only what i hear but their vibes, so strong. i have been doing this for a long time. i kind of make them feel what i want them to feel.

there is nobody in that audience or anywhere that is not going to know that particular song by the fourth note. and that is our encore on tour. by the way. i am proud to play it, we are from san francisco. we are going to play that piece no matter where we are. >> welcome to culture wire. we will look at the latest and greatest public art project.

recently, the airport unveiled the new state of the art terminal. let's take a look. the new terminal service and american airlines and virgin america was designed by a world- renowned architecture's firm. originally built in 1954, the building underwent massive renovation to become the first registered terminal and one of the must modern and sustainable terminals and the united states. the public art program continues its 30-year legacy of integrating art into the airport environment with the addition of five new commissions that are as bold and dynamic as the new building. >> this project was completed in

record time, and we were able to integrate the artist's early enough in the process that they could work with the architect said that the work that is completed is the work that really helps complement and instill the space as opposed to being tucked away in a corner. >> be experience begins with the glass facades that was designed with over 120 laminated glass panels. it captures the experience of being under or over clouds when flying in a plane. depending on the distance or point of view, it can appear clear for more abstract and atmospheric. the subtle colors change gradually depending on the light and the time of day. >> i wanted to create an art work that looks over time as well as working on in the first

glance. the first time you come here, you may not see a. but you may be able to see one side over the other. it features a couple of suspended sculptures. each was created out of a series of flat plains run parallel to each other and constructed of steel tubing. >> it is made up of these strata. as the light starts to shift, there is a real sense that there is a dynamism. >> it gives the illusion that this cultures might be fragments of a larger, mysterious mass. >> the environmental artwork livens it with color, light, and the movement. three large woven soldiers are

suspended. these are activated by custom air flow program. >> i channeled air flow into each of these forms that makes it move ever so slightly. and it is beating like a heart. if-0 when as of the forces of nature moving around us every second. >> shadow patterns reflect the shapes of the hanging sculptures. the new terminal also features a children's play areas. both of the market the exploratory n.y. -- exploratorium. the offer travelers of all ages a playful oasis.

using high quality plywood, they created henches shaped like a bird wings that double as musical instruments. serving as a backdrop is a mural featuring images of local birds and san francisco's famous skyline. >> in the line between that is so natural, you can see birds and be in complete wilderness. i really like that about this. you could maybe get a little snapshot of what they are expecting. >> it is an interactive, keck sculpture that is interacted with by the visitor. >> they are a lot about and they fall down the belt.

it moves the belt up, and if you turn that faster, the butterflies fall in the move of words. >> the art reflect the commission's commitment to acquiring the best work from the bay area and beyond. in addition to the five new commissions, 20 artworks that were already in the airport collection were reinstalled. some of which were historically cited in the terminal. it includes major sculptures by the international artists. as a collection, these art works tell the story of the vibrant arts scene in the early 1960's through the mid-1980s's. the illustrate san francisco's cultural center and a place of innovation that is recognized and the love throughout the world. one of the highlights is a series of three left tapestries.

they are on view after being in storage for 20 years. these tapestries representing various gardens. from his years of living in san francisco. hydrangeas, chrysanthemums, and whilst dahlias in rich, deep shades as they make their way to the baggage area. they can access behind-the- scenes information and interviews with the artist through an audio to work. it features archival audio as well as interviews with living artists. he can be accessed on site by dialing the telephone numbers located near the artwork or by visiting the commission's web site. the public art speaks volumes of

san francisco as a world-class city with world-class art and culture. for more information, visit

[gavel] >> good afternoon to the san francisco board of supervisors meeting of